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This study is to examine 'Modernity' shown in Kim Gyu-dong's poetics in the 1950s and to clarify its direction. Especially, starting from similarities between Kim Gyu-dong's poetics and Kim Gi-rim's early poetics, this paper considers how his desire worked for the world literature in his poetics. Kim Gyu-dong's poetics is very similar to Kim Gi-rim's early poetics composed in the middle and late 1930s, in that his poetics established directivity in terms of the Western modern literature, but there are some differences found between them. Thus, this paper attempted to consider how the differences composed his poetics, while ultimately investigating the planning of literary coteries of 'Hubangi (the second half of the year)' in the 1950s, who agonized over the Korean literature in the magnetic field of the world literature.
In Kim Gyu-dong's poetics in the 1950s, the literature of 'Modern Times' and 'Modern Times' introduced the Western modern styles and modes, while the premodern literature became prominent with the poetic styles and modes oriental, lyrical and melodious. His poetics was ver similar to Kim Gi-rim's early poetics in such an aspect, but there was a large difference left between them that his poetics didn't introduce the enjoyment of literature, which Kim Gi-rim recognized, and its possibility of literature as well. Moreover, since it didn't introduce the possibility of embracing literature, Kim Gyu-dong's poetics could advance into the world literature as literature for a few intellectuals, rather than as the Korean literature in a specific historical context called the South Korean society right after the Korean War.
Nevertheless, as the contemporary Korean literature he introduced within the world literature could not reject the specific historical context as well, it came to be confronted with limitations. In other words, he desired the Korean literature to be within the world literature, but due to such a desire, the characteristics of the Korean literature ended up being ignored in a specific circumstance like Korea in the 1950s. That is, the reason why his 'Modernity' went blank can be explained with the results of his inferior complex for the world literature unlike Kim Gi-rim's 'Modern Times' and his overwhelming desire to situate the Korean literature within the world literature. Furthermore, such a case as Kim Gyu-dong's shows one of the aspects of imagination for the Korean literature within the world literature, which modernists might have had right after the Korean War.
In Kim Gyu-dong's poetics in the 1950s, the literature of 'Modern Times' and 'Modern Times' introduced the Western modern styles and modes, while the premodern literature became prominent with the poetic styles and modes oriental, lyrical and melodious. His poetics was ver similar to Kim Gi-rim's early poetics in such an aspect, but there was a large difference left between them that his poetics didn't introduce the enjoyment of literature, which Kim Gi-rim recognized, and its possibility of literature as well. Moreover, since it didn't introduce the possibility of embracing literature, Kim Gyu-dong's poetics could advance into the world literature as literature for a few intellectuals, rather than as the Korean literature in a specific historical context called the South Korean society right after the Korean War.
Nevertheless, as the contemporary Korean literature he introduced within the world literature could not reject the specific historical context as well, it came to be confronted with limitations. In other words, he desired the Korean literature to be within the world literature, but due to such a desire, the characteristics of the Korean literature ended up being ignored in a specific circumstance like Korea in the 1950s. That is, the reason why his 'Modernity' went blank can be explained with the results of his inferior complex for the world literature unlike Kim Gi-rim's 'Modern Times' and his overwhelming desire to situate the Korean literature within the world literature. Furthermore, such a case as Kim Gyu-dong's shows one of the aspects of imagination for the Korean literature within the world literature, which modernists might have had right after the Korean War.
목차
1. 1950년대와 김규동
2. 역사와 문학의 진보에 대한 신뢰
3. 현재의 모순과 가능성의 압도
4. 세계 문학에 대한 욕망과 현재, 그리고 현대
5. 세계 문학에 대한 욕망과 컴플렉스
참고문헌
〈Abstract〉
참고문헌 (20)
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UCI(KEPA) : I410-ECN-0101-2012-809-004309502